“….the beauty of this device is how quickly you can also make more simple shots. A push or slide is done in seconds and near perfectly. You can add a tilt or pan to that too to make it even fancier if you’d like with little effort. And the speed at which you can work is hard for many producers (including a friend and long time producer I worked with on a commercial this week… until he sees the results and how quickly you can get them.) Then you run down stairs, walk across a busy intersection, or ride in a vehicle and your head will certainly spin…”

About the MōVI M10 (From Freefly Systems)

A handheld 3-axis digital stabilized camera gimbal, so advanced, it redefines the possibilities for camera movement. The heart of the gimbal is Freefly’s proprietary high performance IMU and brushless direct drive system. The gimbal is 100% custom designed in-house by our engineering team. No compromises were made to accommodate off-the-shelf brushless motors, motor drives or IMUs. Creating the gimbal from scratch allowed Freefly to precisely execute our vision for the next generation of stabilized camera gimbals. In creating this camera gimbal, we aim to empower a new era of stabilized cinematography. Freefly MōVI – “The New Moving Picture.”

MōVI in Action

Below Vincent Laforet and Freefly systems talk about the advantages of the new stabilizer. In practice it looks extremely cool and the results seem to speak for themselves. The entry level M5 is $7,500 and the mid level M10 is $15,000.

My question is, how do you pan and control your pan ?? Tilt up or down and then back to position ?? Is it really worth that much ??

It's a two-operator rig. One person holds it and moves it through the scene. The other remotely aims the camera using a wireless joystick.

There's a video on Vince's blog that shows a guy waving the rig around like crazy and the camera stays rock solid steady in the middle of it.

I'd say that, yes, definitely, this is a game changer.

First, buying the rig outright costs as much as a single day's rental of many of the other pro stabilization rigs. That's not at all unlike the 5DII, whose purchase price was also a fraction of the cost of a large format digital film rig capable of taking fast glass.

Next, it can do almost everything that the traditional support systems can -- tracks, dollies, booms, all that sort of thing. Maybe not always quite as well, but, if you're on a budget (and keep in mind that "budget" films are themselves very expensive), it'll certainly meet the 80/20 rule and then some.

Last, it can do all sorts of new things that the old rigs can't do. That shot with the operator on roller skates following the cab, for example. I can also imagine physically handing the camera through a window or other small opening, or smoothly attaching it mid-shot to a pulley to raise it to the roof, where it again gets quickly disconnected while another operator continues the shot and runs down the fire escape -- that sort of thing.

Yeah, it's a game changer, even if only in the world of video where several grand for a support system is pocket change.

Wow that video was excellent !! I shot some video the other day with my 5d3 the video looked great but the motion was horrible next to impossible to get a steady shot moving with the camera.. These tools look great, change the way movies are made...

My question is, how do you pan and control your pan ?? Tilt up or down and then back to position ?? Is it really worth that much ??

It's a two-operator rig. One person holds it and moves it through the scene. The other remotely aims the camera using a wireless joystick.

There's a video on Vince's blog that shows a guy waving the rig around like crazy and the camera stays rock solid steady in the middle of it.

I'd say that, yes, definitely, this is a game changer.

First, buying the rig outright costs as much as a single day's rental of many of the other pro stabilization rigs. That's not at all unlike the 5DII, whose purchase price was also a fraction of the cost of a large format digital film rig capable of taking fast glass.

Next, it can do almost everything that the traditional support systems can -- tracks, dollies, booms, all that sort of thing. Maybe not always quite as well, but, if you're on a budget (and keep in mind that "budget" films are themselves very expensive), it'll certainly meet the 80/20 rule and then some.

Last, it can do all sorts of new things that the old rigs can't do. That shot with the operator on roller skates following the cab, for example. I can also imagine physically handing the camera through a window or other small opening, or smoothly attaching it mid-shot to a pulley to raise it to the roof, where it again gets quickly disconnected while another operator continues the shot and runs down the fire escape -- that sort of thing.

Yeah, it's a game changer, even if only in the world of video where several grand for a support system is pocket change.

Cheers,

b&

As i am at work i did not have time to read all the details on the article. All i saw was the "making of" video and every time they were about to pan they would cut to something else, hence my query ! Thanks for the enlightenment As i am also part of this field i do know about the prices a low budget film can get up to ! And yes, it ain't really that cheap ! The reason why asked if it is really worth the price is because i was unaware of the second person with the remote. And things like that tend to be pricy. My only concern now is that when it gets to be available in the UK it will probably cost £7500 instead of really going by the rate. Oh, well ! Thanks for the write up mate, much appreciated & let the money saving begin !